Search - The Choir of St. Luke in the Fields, David Shuler (director) :: Giuseppe Pierluigi da Palestrina: Missa Tu es Petrus; Caro Mea, Canite Tuba/Rorate Caeli, Improperium Expectavit, Sicut Cervus/Sitivit Anima Mea, Surrexit Pastor Bonus/Et Enim Pascha Nostrum, Tu Es Petrus/Quodcumque Ligaveris

Little can be added to the exhaustive research that has been done about Giovanni Pierluigi da Palestrina. He was the most celebrated Roman composer of his day and stands with Byrd, Victoria and Lassus as one of the preeminent voices of late 16th-century church music. Often credited as the savior of church music, he reconciled Tridentine liturgical reforms with the artistic elements of polyphonic church music. Although the directives from the counter-reformers certainly had an impact on his music, he was equally influenced by the rich musical heritage of the Franco-Flemish composers of a generation before. Palestrina was also significantly inspired by the first glimmerings of the Baroque, particularly in his polychoral works. His influence extended well into later generations, and can be seen in the works of composers like Gregorio Allegri in the 17th century and in the motets of Alessandro Scarlatti in the 18th century. Throughout his later years, Palestrina remained a prolific composer, setting a standard for church music that endures to the present day. Throughout his career, he was profoundly influenced by the Franco-Flemish style; the number of imitation or parody Masses based on motets by northern composers stands as a lasting testament to that admiration. The stories surrounding his adherence to the dictates of the Council of Trent and the ultimate salvation of polyphony are more legend than fact. The committee to which Palestrina was invited indeed reviewed music for use in the church, but his appointment had more to do with his unmatched skill as a composer than as a pious, dogmatically driven adversary of polyphonic music. The belief that the Counter-Reformation set about to abolish polyphony is untrue. Certainly, the use of melodic sources whose secular use was inappropriate was frowned upon, but to suggest that the Council of Trent only endorsed homophonic music based on church sources misses the point. The specific directives regarding music were in fact left to the individual provinces, and a close examination of the breadth of style in Palestrina s music reveals a composer of considerable technical breadth, sensitivity and spirituality. David Shuler is presently Director of Music and Organist at the Church of St. Luke in the Fields in New York, where he oversees an extensive music program. In addition to an active children's choir, a professional choir sings masses and motets at the principal services of the church throughout the year. The choir is featured in an annual concert series of sacred music, and has made numerous recordings. As a conductor, Shuler is highly regarded for his vibrant historically informed performances of early music. Shuler recently completed terms as President of the Association of Anglican Musicians and President of the Anglican Musicians Foundation. Shuler was educated at the Eastman School of Music, Columbia University and the Berkshire Music Center at Tanglewood. The Choir of St. Luke in the Fields has been under the direction of Shuler since 1988. As the resident vocal ensemble at the Church of St. Luke in the Fields, the Choir regularly performs music from the 15th century to the present. The choir appears frequently in concert and is known for its historically informed performances of early music. In 2003 the Choir presented the North American premiere of Georg Phillip Telemann's St. Matthew Passion and the New York premiere of C.P.E. Bach's St. Matthew Passion. Soprano: Melissa Fogarty, Madeline Healey, Ava Pine, Amanda Sidebottom, Marcia Young; Alto: Kit Emory, Catherine Hedberg, Elizabeth Merrill; Tenor: David Root, Christopher Preston Thompson; Bass: Phillip Cheah, Michael Hofmann, Peter Walker, Christian Waugh. Consultant: Ryland Angel.